Thank you all for the positive comments. Uh hum, most of you anyway. I guess you can't please all the people all the time. I am very proud of all the guys in this video. They play with good technique and with excellent expression and soul. We try to find a happy medium between Historically Black College drum lines and DCI drum lines. This street beat is in 3/4, which is rare, and I like the hockit play between the voices. We created a vamp in the middle for people to improvise over, however, we never used drum sets till we filmed this video. Both of these guys were told they were going to solo on set 15 minutes before this was filmed. This was the second take out of three. I am not only proud of these guys but I am amazed by them. As for the two set players, they will both have successful careers in music, without a doubt. The first drummer is Vic McMurtery from Madison, Mississippi. He is about the humblest and nicest guy you'll ever meet. Daron Roberts, the second drummer is from San Fernando, Trinidad & Tobago and is equally as impressive on lead pan as he is on drum set. You will be reading more about these guys in years to come, I am sure of that.
You probably aren't reading this comment because i'm three years late. But just know, if you stay at Southern Miss. I'm an LC drummer and i'm coming for you.
@DEE JAY So, music is a language in math? RIGHT? because whether you're playing a simple four on the floor or some crazy multi meter invention, you're still adding 16ths and 32nds and 8ths and creating MUSIC, so I don't understand that argument. As far as where to put all those fancy accents... I think they nailed the concept of syncopation pretty darn well. This was an exhibition of skill, and I am DEFINITELY impressed. And that makes this music to me. By saying a positive impression doesn't make something music, you've completely gone against whatever got you into music in the first place! WHO impressed you so much that you decided to become a professional musician!? WHO put THEIR reputation and livelihood on the line by publishing a record that could have gone NOWHERE - maybe did go nowhere - but still left such an indelible mark on you that you became a "Pro" musician? So don't tell me that I must be young and I don't know better than to be impressed by fancy stick work.You could have 100 years more experience than I do, but if something impresses me, that's music man. No Matter what you think, No Matter what bitter diatribe you bring you a forum, THIS IS MUSIC. In 40 years, I can only hope that young hot shots will continue to challenge what I think of as music, and continue to push me to further hone my skills. I think you need to remember where you come from sir.
@DEE JAY wanna know whats funny about the "Gospel chops" shit? those "Gospel-Chop" players that actually studied their craft are some of the top touring drummers around....so please don't dumb down something you don't know about. Why do I say that? Gospel Chops is a BRAND not a style.
As a professional drummer that's been playing for over forty years now and started out in fife and drum corps, drum and bugle corps and went on to play in stage, studio, etc. If you can't march with it, it doesn't belong on the field. Can't wait till some corps rolls a full-size, church pipe organ onto the field...ugh! I also don't care for all the gospel-chops shit these days - it's all flash and no substance. Kinda like driving your car a zillion miles an hour and ignoring all the stop signs. Okay, we get it...how 'bout some dynamics and actual musicality?
Gospel chops are all about dynamics.The ability to displace accents/beats and still remain in time is in fact extremely musical. I'm not sure what has made you so bitter in the presence of excellence. If in 40 years of drumming you haven't learned humility, you should just keep your mouth shut.
anotherdrummer2 Dude, if that's your definition of musicality and dynamics, then you obviously are very young and don't quite know what you're talking about. Displacing beats and accents IS NOT musicality, it's math. Only the best gospelchops drummers are aware that dynamics even exist. Real dynamics, phrasing and having your own voice on the instrument and not copying what everyone else does is far closer to musicality that anything you're talking about. I have experience, you do not. Anyone, including you, can spew sixteenths, triplets and 32nds between hands and feet and orchestrate it all over the kit. It doesn't take a genius to do that. It's knowing where to put it and when, and using dynamics and phrasing that make the difference, not how many notes and accents you can jam into one beat. Perhaps you should keep YOUR mouth shut, sonny. Just because you're impressed with it doesn't make it musical and good. Try this: play that crap on a gig and see what kind of looks you get from your fellow musicians. If it fits that won't say anything, if it doesn't they'll be up your ass with a chainsaw.
Thank you all for the positive comments. Uh hum, most of you anyway. I guess you can't please all the people all the time. I am very proud of all the guys in this video. They play with good technique and with excellent expression and soul. We try to find a happy medium between Historically Black College drum lines and DCI drum lines. This street beat is in 3/4, which is rare, and I like the hockit play between the voices. We created a vamp in the middle for people to improvise over, however, we never used drum sets till we filmed this video. Both of these guys were told they were going to solo on set 15 minutes before this was filmed. This was the second take out of three. I am not only proud of these guys but I am amazed by them. As for the two set players, they will both have successful careers in music, without a doubt. The first drummer is Vic McMurtery from Madison, Mississippi. He is about the humblest and nicest guy you'll ever meet. Daron Roberts, the second drummer is from San Fernando, Trinidad & Tobago and is equally as impressive on lead pan as he is on drum set. You will be reading more about these guys in years to come, I am sure of that.
You probably aren't reading this comment because i'm three years late. But just know, if you stay at Southern Miss. I'm an LC drummer and i'm coming for you.
John Wooton Hopefully see you in 6 years Johnny boy.
Congratulations to all of you .It takes alot alot of work to sound the way you do .
Excellent !!!
Love how all of it fits together perfectly!
Wow! Great. Loved the incorporation of the drumset.
what an incredible high level in this video!
This was a really awesome video! I loved the incorporation of a drum kit!
I wish the first drummer would have hung in that half-time shuffle groove a bit longer. That was great!
That second drum set player Jesus 🔥🔥🔥😩
That crossover lick though
So cool!! Indeed.
ok DOC this is Awesome!
Muito bom!!! Very good...
Dem chops!
that's was good !
Freakin' Awesome! Thanks Guys! Well Done! :-)
Good techniques !!!
tight, well done
good good good !
That was filthy!!!! Wow❤️
Big up Trinidad land of Syncopation
I love how its off beat bit yet still stays on tempo ☺
@DEE JAY So, music is a language in math? RIGHT? because whether you're playing a simple four on the floor or some crazy multi meter invention, you're still adding 16ths and 32nds and 8ths and creating MUSIC, so I don't understand that argument. As far as where to put all those fancy accents... I think they nailed the concept of syncopation pretty darn well. This was an exhibition of skill, and I am DEFINITELY impressed. And that makes this music to me. By saying a positive impression doesn't make something music, you've completely gone against whatever got you into music in the first place! WHO impressed you so much that you decided to become a professional musician!? WHO put THEIR reputation and livelihood on the line by publishing a record that could have gone NOWHERE - maybe did go nowhere - but still left such an indelible mark on you that you became a "Pro" musician? So don't tell me that I must be young and I don't know better than to be impressed by fancy stick work.You could have 100 years more experience than I do, but if something impresses me, that's music man. No Matter what you think, No Matter what bitter diatribe you bring you a forum, THIS IS MUSIC. In 40 years, I can only hope that young hot shots will continue to challenge what I think of as music, and continue to push me to further hone my skills.
I think you need to remember where you come from sir.
Nice :)
@DEE JAY wanna know whats funny about the "Gospel chops" shit?
those "Gospel-Chop" players that actually studied their craft are some of the top touring drummers around....so please don't dumb down something you don't know about.
Why do I say that? Gospel Chops is a BRAND not a style.
The first drummer, did want to have a pee apparently
Sorry 10 years kid can do it
As a professional drummer that's been playing for over forty years now and started out in fife and drum corps, drum and bugle corps and went on to play in stage, studio, etc. If you can't march with it, it doesn't belong on the field. Can't wait till some corps rolls a full-size, church pipe organ onto the field...ugh! I also don't care for all the gospel-chops shit these days - it's all flash and no substance. Kinda like driving your car a zillion miles an hour and ignoring all the stop signs. Okay, we get it...how 'bout some dynamics and actual musicality?
Gospel chops are all about dynamics.The ability to displace accents/beats and still remain in time is in fact extremely musical. I'm not sure what has made you so bitter in the presence of excellence. If in 40 years of drumming you haven't learned humility, you should just keep your mouth shut.
anotherdrummer2 Dude, if that's your definition of musicality and dynamics, then you obviously are very young and don't quite know what you're talking about. Displacing beats and accents IS NOT musicality, it's math. Only the best gospelchops drummers are aware that dynamics even exist. Real dynamics, phrasing and having your own voice on the instrument and not copying what everyone else does is far closer to musicality that anything you're talking about. I have experience, you do not. Anyone, including you, can spew sixteenths, triplets and 32nds between hands and feet and orchestrate it all over the kit. It doesn't take a genius to do that. It's knowing where to put it and when, and using dynamics and phrasing that make the difference, not how many notes and accents you can jam into one beat. Perhaps you should keep YOUR mouth shut, sonny.
Just because you're impressed with it doesn't make it musical and good. Try this: play that crap on a gig and see what kind of looks you get from your fellow musicians. If it fits that won't say anything, if it doesn't they'll be up your ass with a chainsaw.
ClarkKasheta
No but the guy below your comment did. Obviously you haven't bothered to read those, and...you're an idiot.